do much to reveal the true conditions of strength of nations and churches. Many scenes, moreover, in Froude's drama carry out the scheme with extraordinary vividness. The last volume, with the execution of Mary and the defeat of the Armada, makes a fifth act, with a catastrophe, artistically at least, completely satisfactory.
The dramatic view of history demands a hero—a typical embodiment of the force which is shaking mankind. To understand him will be to give unity of action to the drama and unravel the wild and chaotic play of conflicting powers. Froude's artistic instinct overpowered his historic vision when he chose Henry VIII. for the part. His true problem, I imagine, should have been to show how that very arbitrary and tyrannical person was enabled to carry out so much of his purposes, and to be accepted by so large a part of his subjects as the national hero. When Froude took him for an embodiment of high purpose and statesmanlike insight, and discovered that a man constantly acted like a brutal despot from the loftiest political motives, he undertook one of the most heroic pieces of whitewashing on record. The Protestant refused to accept such a champion, and the burly figure looked awkward in wings and
